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Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
June 24, 2009 - Kearney Nebraska US
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Late June Storm, severe warned and moving my way...
Packed and Saddled and ready for that afternoon's events. Getting fulled up and looking due southwest. Towers were exploding and we had nice crystal clear air in front of this storm. The Severe Warning was for winds and hail. We just didn't have enough shear with this storm for it to be come tornadic.
Outflow Dominate it shall be... Oh this was going to be one to remember! Most of these captures came from south of Kearney, about 14-15 miles just north of the NTV Studios.
I had to eventually move north back into the city limits of Kearney. Sitting on the south side of the Interstate pointing the camera due southeast then to the southwest. This shelf cloud had some really amazing structure to it. Just a jaw dropping storm!
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Visit my Photostream Archive (On Flickr) of Severe Weather
Bottom edge of a copy of one of the software manuals I write. As we produce them in relatively small volume, they usually come straight off the printer and are bound with plastic combs, or put into ring binders. I am a technical writer for a sofware company and produce user manuals, training manuals, online help, as well as any other marketing materials that need words.
Taken with iPhone 4S with the magnetic snap-on macro lens.
Entry for Macro Monday 31st October 2011: "My Work".
This is the third and final part of my Amsterdam project: two more canal houses and two canal boats next to the already existing book store and cheese shop.
The narrow dark red and white building contains a music store on four floors that sells records and a great selection of modern and classic musical instruments.
The corner building provides space for three different businesses: a flower shop on the ground floor, a therapist on the first floor and a tailor shop on the two remaining floors.
--------------------------------------
Credits:
- Double Bass: Michael Jasper
- Upright Piano: Masao Hidaka
- Sofa bed of the grey canal boat: Redhead1982
- interior of the tailor shop: Elizabeth Nevermind
Strobist note:
primary flash under a white plastic box command by light trigger.
secondary flash on camera.
I briefly owned a Nikon D7000 but found large spots appearing on my images. I discovered that oil was being flicked on to the sensor when the shutter fired.
A small number of D7000 users have had similar problems and have lengthy sagas to relate about the trouble getting the problem fixed.
The problem is disbelief at Nikon service centres and equal disbelief (often delivered in an ill-mannered fashion) by Nikon fans online. Nothing is perfect and a few misbehaving D7000s may not turn out to be a big issue, but the way the owners of these cameras are treated most certainly is. It is ungracious for them to be accused of negligent use, allegedly resulting in dust contamination, when they are innocent victims.
I thought that this pair of images might better illustrate the difference between dust on a sensor and oil spots. The images were taken at similar apertures, f8 at the top and f6.3 at the bottom.
The top image was taken with a Pentax K10. It was about three years old when the shot was taken and had 40,000 shutter actuations, numerous lens changes and considerable mucky field use. The sensor has never been wet-cleaned (actually never cleaned at all except the occasional puff of air). A few small dark spots can be seen (two are arrowed) and smaller ones do show at higher apertures. They appear anywhere on the image.
The bottom image was taken by a four week old Nikon D7000 which had about 800 shutter actuations. The camera had the same lens attached over the four week period so absolutely zero lens changes. The spots are larger, rounded and predominantly appear at the bottom right (i.e. there's a bias to where they appear, not randomly like dust). I have arrowed a few but you may well see some others that form a stream of splashes running diagonally up and right. A real challenge to 'Photoshop' out due to their size. Also, bear in mind that the image was taken at f6.3 so avoiding high apertures is not going to work. Yet this hardly credible suggestion has been posted in the forums. What is the point of having aperture rings on lenses if we're told to not go beyond f5.6 or something?
I am aware that the bottom image may appear dim on some monitors (I edited the image on a Mac with a bright screen) but hopefully the spots will show up. Click on it to get a view against a dark background.
Copying this image? Please do and show to anyone you like, especially service technicians. They keep saying that haven't seen this before...repeatedly.
I hope this settles the argument but I am not counting on it (actually, by spring 2012 it seems that the problem is now widely acknowleged; it seems only Nikon has never openly written about it). Intelligent feedback welcome; unhelpful remarks may be deleted.
POHAKULOA TRAINING AREA, Hawaii (July 12, 2018) - A U.S. Marine Corps CH-53E Super Stallion helicopter takes off after dropping off Marines during a noncombatant evacuation operation (NEO) training event as part of Rim of the Pacific (RIMPAC) exercise at Pohakuloa Training Area. A NEO is conducted to evacuate citizens whose lives are in danger. RIMPAC provides high-value training for task-organized, highly capable Marine Air-Ground Task Force and enhances the critical crisis response capability of U.S. Marines in the Pacific. Twenty-five nations, 46 ships, five submarines, about 200 aircraft and 25,000 personnel are participating in RIMPAC from June 27 to Aug. 2 in and around the Hawaiian Islands and Southern California. (U.S. Marine Corps photo by Lance Cpl. Adam Montera) 180712-M-FA245-0033
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Looking up to the stars at night, the giant masts of the Maltese Falcon.
Such an incredible integration of technology and design in this carbon fiber masterpiece, the largest and fastest single-hull megayacht in the world. When it sails, the enormous boat tilts like a racing boat, dipping the lower railing into the sea. It is quite dramatic, and everything onboard has to be secured from falling over.
WIRED called it the “the most daring advance in sailing technology in 150 years. The overall look is sleek, metallic, and ultramodern, almost foreboding. When Darth Vader builds his own intergalactic yacht, it will look like this.
The genius — and risk — of the rigging is its use of freestanding masts that rotate to adjust sail trim and tack the boat. There are practically no external ropes or wires, no traditional rigging of any sort to brace the spars or control the nearly 26,000 square feet of sail. The 15 sails deploy at the push of a button, rolling out from inside each hollow mast along recessed tracks on stationary horizontal yardarms. When Dijkstra's drawings first came in, the CEO of Perini Navi, the Italian company that built the ship, muttered, "Whatever that is, it's not going to sail." Each mast is secured to the hull by two huge steel bearings. The three assemblies — mast, bearings, motors, and fittings — each weigh well over 30 tons. To measure the stress on the masts, a fiber-optic network is embedded in the layers of carbon-fiber laminate. These 0.01-inch-diameter cables contain sensors that relay real-time data about the structural health of the masts to a graphic display on the bridge. Seventy-five sealed motors, 60 for unfurling and 15 for furling, are used to manage the sails.”
You can see all that on the video I took. And here are all of my photos here on flickr.
Here's my video of them in action.
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Thai Airways have been a long-time user at London Heathrow; prior to COVID-19 the carrier utilised twice-daily flights between Bangkok and London Heathrow, utilising Airbus A380s and Boeing 777-300ERs. Of course, the carrier was heavily effected by the pandemic which saw the carrier withdrawing a number of aircraft, gone are the relatively young Airbus A330-300s, the small sub-fleet of Airbus A380s, outdated Boeing 747-400s and Boeing 777-200/300s.
The carrier has since reinstated their daily flights between Bangkok and London Heathrow utilising brand new Boeing 777-300ERs which are fitted with First Class interiors; from 29th May 2022 will see an additional 4 weekly flight introduced with Boeing 787-8s being utilised.
Since 31st October 2021, Thai Airways also introduced new direct flights between London Heathrow and Phuket operating thrice weekly initially with Boeing 777-300ERs, and now Boeing 787-8s. TG918/919 originates from Thai's Bangkok-Suvarnabhumi hub with a stop-over in Phuket before continuing on towards London Heathrow, before doing the same route in reverse back to Thailand.
From 22nd May 2022 to 30th June 2022, TG918/919 will convert over to a triangle flight... The flight will begin from Bangkok-Suvarnabhumi towards London Heathrow, with the return journey featuring a stop-over in Phuket before arriving back to Bangkok; whether this will continue permanently from June 2022 remains to be seen.
Currently, Thai Airways operates 8 Boeing 787s, which includes 6 Boeing 787-8s and 2 Boeing 787-9s.
Tango Quebec Foxtrot is one of 6 Boeing 787-8s operated by Thai Airways, delivered new to the flag-carrier on lease from AerCap on 7th August 2015 and she is powered by 2 Rolls-Royce Trent 1000 engines.
Boeing 787-8 Dreamliner HS-TQF 'Kong Krailat / กงไกรลาศ' on final approach into Runway 27R at London Heathrow (LHR) on TG918 from Bangkok-Suvarnabhumi (BKK) via Phuket (HKT).
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Nikon F2 with DP-2 head (so F2S), MB-1 battery pack (takes 10 AA batteries), MD-2 motor drive capable of 10fps! all those years ago, MF-3 Rewind stop back with built in grip, DS-1 ee Aperture control attachment - automatic control of lens aperture by camera taking into account shutter speed set by user, and AF-1 soft shutter release.
Women's FA Cup 1st Round: 14/11/2021 (Sheffield win 4-2 on penalties)
Second-half action.
More of my football photos can be seen at www.facebook.com/huckfieldphoto/
Quick sketch over coffee considering a different approach to displaying user research...
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These photographs are presented here for viewing purposes ONLY. They are NOT royalty free images and may not be used for commercial or private use. Any such use of these images is strictly prohibited. Specifically, these images may not be copied, manipulated, be reproduced by any other means nor sold without prior written consent by the author.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Three frames taken during the FPP London 2012 meetup using the Pentax Auto 110 camera that I previously used in week 46 of my 52 film cameras in 52 weeks project:
The first 2 years of the project are covered in this book:
www.blurb.co.uk/bookstore/detail/2869629
Expired (2001) Kodacolor Gold film, developed in Tetenal C41 chemistry.
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